Die letzte Schlacht

A few years before this was released, there was "The Longest Day" - a movie version of the Allied invasion of Normandy in 1944. That was a very good movie with a star-studded cast. I'm guessing that "Battle of the Bulge" was an attempt to unofficially follow up on that movie. It's not as star-studded (although there's a bit of cross over in the cast, most notably Henry Fonda.) Truthfully, though, this movie is nowhere near as good as "The Longest Day."

It's supposed to be an account of The Battle of The Bulge, which took place in December of 1944. It was the last significant German offensive of the war, intended to break through the Allied lines and re- capture the port city of Antwerp, Belgium - thus throwing Allied supply lines into chaos. The movie gets some things right. The Germans did, indeed, get troops disguised as American MPs behind the American lines, and they were able to cause confusion and chaos. The Germans were also woefully short of fuel, and had targeted an American supply depot which would have given them access to a huge amount of gasoline for their tanks. The famous demand for the surrender of Bastogne, and the reply of the commanding American general to that demand - "NUTS!" - is accurate. But there are also a lot of problems with the historical accuracy of the film. First is that all of the characters are just that - characters. Composites, perhaps, but there's no portrayal of anyone who actually fought in the battle. There's also no mention at all of General George Patton's 3rd Army dramatically saving the besieged Americans at Bastogne. That's one of the better known incidents of the Battle of the Bulge, and why you wouldn't even mention it is beyond me. Many, of course, note the problem that the tanks used in the movie were of a much later vintage, and were't an accurate representation of the tanks that would have been used.

At best, I'd say that this movie was OK. Terrible if you're thinking that you're learning much history from it, but OK as a movie that's somewhat dramatic, and I thought it was a reasonable portrayal of the ugliness of war - the Malmedy massacre (the cold blooded murders of Americans who had been taken prisoner by German SS troops) was portrayed, for example.

I'd definitely say that if I were going to watch either again, I'd take in "The Longest Day." It's the better movie. This one gets a 5/10 from me.

"THE BATTLE OF THE BULGE"-was without a doubt an archetypal studio war movie,since this one is really quite faithful to the broad outlines and details of a real campaign,and then fills out the running time with ridiciously unrealistic Hollywood heroics. The combination is somehow much more entertaining that it ought to be. Veteran director Ken Annakin knows how to keep this sort of sprawling material in line,and even if the two leads are doing a bit of slumming,they're as good as they used to be.

As the synopsis of the story goes it is December,1944 and American troops and officers advancing toward Germany think that the war is over. They're on cruise control waiting for orders to return home. But Colonel Kiley(Henry Fonda)who's a cop in civilian life,has a hunch that the enemy is up to something. On a reconaissance flight,he spots Colonel Hessler(Robert Shaw)in the back of a big black convertible. Kiley also spots some Tiger tanks and thinks that he has discovered the first evidence of the counteroffensive. His superiors,General Gray (Robert Ryan),and Colonel Pritchard(Dana Andrews) are skeptical. Meanwhile,right at the point of the German attack,Major Wolenski's(Charles Bronson)men are hunkered in a bunker and trying to stay warm. Sargent Duquesne(George Montgomery)keeps wet-behind-the-ears Lt. Weaver (James MacArthur)from getting himself killed,and Guffy(Telly Savalas)uses his Sherman tank to distribute black market wine,eggs,and nylons. The script by John Melson and producers Phillip Yordan and Milton Sperling neatly juggles those plot elements,bringing them all together only at a wonderfully preposterous conclusion.

The various battle scenes vary widely in quality. Some of the destruction seems shockingly real while the occasional shots of model tanks and trains are so jarring that they're unintentionally funny. Director Kenneth Annakin realizes how those deep,ratting,clanking sound effects are to cinematic tanks,and he uses every note in his repertoire. He understands the importance of setting,and gives the film an appropriately bleak,muddy,snow-covered feel. Since the film was released in Christmas of 1965,and was originally made for the ultra-widescreen process Cinerama(the first film presented in this format for Warner Bors. Pictures and was filmed in Ultra Panavision), much of the scope of the big scenes is lost in the conventional pan-and-scan transfer(it has been restored for its release on DVD). The best way to see this is in theatres that had the Cinerama process. The tank battles in particular have almost nothing to do with the realiities of war,but the filmmakers don't take as many liberties as they might have.

The Germans did time the attack to take advantage of poor weather-"night,fog and snow,"as Hitler put it-to keep Allied airplanes on the ground. They hoped that stopping the Allies would give them take to take more advantage of their secret-weapons programs and V-2 attacks. The attack was led by a young tank general,and his supplies of fuel were so critically low that his forces were expected to forage for it. The filmmakers made use of all these points,especially with the battle sequences and stunning photography throughout. When it was released in 1965,the film's original running time of 167 minutes long. The most widely available tape version of the film is at 141 minutes and was re-released back in theatres with given running times of 156,and 163 minutes long. When it was restored,the producers resurrected the original negatives to its standard running time of 167 minutes,which is now out on DVD.

Let's pretend this movie has nothing to do with the battle in Belgium, winter 1944. The movie is only bad if you associate it too much with the real life events, but if you focus on the amazing line-up of actors, special effects, soundtrack, and battle sequences, it becomes a very interesting and entertaining World War II movie. Although compared to more realistic war movies like Patton, this film serves no real educational value. To me it seems like a WWII fan-fiction of some sort, like a "what-if" scenario. The movie would have probably been ridiculed a lot less if it was titled something different (anything but The Battle of the Bulge), therefore people would just assume it's some sort of war sci-fi movie.

Don't let the title fool you; There's only a few things in the whole movie which actually relate to the Ardennes 1944 (i.e., the snow battles, unexpected German spearheads, General McAuliffe & the "nuts" letter, locations in Malmedy, etc.), meanwhile there's no mention of Patton's relief of Bastogne, which was the the event most people associate with the real battle of the bulge in the first place.

Check this movie out if you'd like to see something different from factual movies. It's a small break from reality, and portrayed in a seemingly fictional (but real, technically) campaign in WWII. It's also a great movie if you like all-star casts and A list actors.

A disclaimer on the end credits states, in effect, that the events and people in this picture bear no relationship to a battle by the same name that took place in WW II. Filmmakers have dealt with the problem of filming the big event in various ways; some show many fragments, following individuals here and there; some concentrate on the view of the generals, with long-shots of big battles; some opt for telling just a little part of the big picture, a microcosm. The solution here is to pretend that only a few dozen people were actually involved in the whole campaign.

One has to assume that someone had a cavalry western script but realized westerns weren't selling any more, so they sold it by doing a quick rewrite to make it a war movie. Henry Fonda is the grizzled scout who insists the Indians are about to attack, based on his reading of the signs in the dirt, and who pulls his boss, the general, out of the fire time and again. Yes, it's Hank who, in the first skirmish, moves up to see if the Indians have a cache of rifles, who recognizes their leader as an escaped renegade fighter-Indian, who discovers that the friendly Crows at the pass are actually deadly Apaches in disguise, who, at a number of critical points, goes out with his young partner to scout around and comes back to the campfire with vital information, who realizes that the big battle is actually a ruse for the Indians to send a party to the water hole to fill their canteens with badly needed water, and who, with an arrow sticking through his shoulder, singlehandedly leads a few raw recruits in a clever maneuver to keep the Indians from the water hole and saves the day. In the last shot, the Indians march back to the reservation across the desert. The Fonda character, in particular, seems to still be in that western. He isn't just A scout, he's THE scout, the only scout, and all intelligence info that's important to the battle is his. The other characters fit the western mold pretty well also, including Shaw's Nazi. Only the Savalas character is indelibly out of WW II (or, more accurately, out of the Bilko show).

VIEWED ON REGION 1 DVD FROM WARNER BROTHERS

This big, bloated epic re-creation of the battle which turned the tide of World War II manages to be on the most historically inaccurate and over-blown adventure pieces ever produced. It's also one of the most entertaining war movies to grace the big screen. The combination of heroics and history shouldn't work as well as it does.

Writers John Melson, Philip Yordan and Milton Sperling remain faithful to the broad outlines of the real battle, and then fill their story with several important fictional characters, and director Ken Annakin uses a combination of Hollywood heroics and historical accuracy to deliver an entertaining tale. The film relies solely on the excellently-shot action sequences and superb acting by the leads to hold it together.

Veteran director Ken Annakin knows how to make this film work. In the lead, Henry Fonda ("Midway") seems to be having plenty of fun as Colonel Kiley. He gets to argue with people, shoot at Germans, fly in a plane, and even help fend off a Panzer attack – not bad for a civilian-turned-soldier, eh? On the flip-side, Robert Shaw ("Force 10 from Navarone") is fantastic as the fanatical Colonel Hessler, a devoted Panzer officer who will stop at nothing to accomplish his mission. Hessler brings new meaning the Hollywood-Nazi-type: he's brutal, nasty and dedicated despite the fact that he knows Germany cannot win the war.

The supporting cast is filled with the familiar faces of Charles Bronson, Ty Hardin, James MacArthur and Telly Savalas – but the real star is Hans Christian Blech ("The Longest Day"). As Conrad, the war-weary, aging German Corporal, it's his best work in a war film. Conrad wants to go home and is devoted to Hessler, until he realizes that his commander's dedication sits precariously on the edge of madness. His facial expressions – bug-eyed outbursts, sad frowns, frightened glances at strafing airplanes – have never been more convincing.

This epic was shot for the big screen using Cinerama, and the only way to appreciate the action sequences is to see this movie in widescreen. Pan-and-scan prints cut it down from a 2.7:1 ratio to 1.33:1 - that's losing more than half of the image! It was shot on the vast plains of Spain, and although it looks nothing like the brutal winter in the Ardennes forest, this scenery makes from some very impressive landscapes for which to shoot colossal battle scenes. Annakin shows tanks facing off with each other on the plains and in the snow-encrusted woods and shows hand-to-hand fighting in the streets of a French city. These scenes are set to an excellent, rousing Ben Frankel score, which only adds to the excitement. There are hundreds of extras running about, as well as several dozen loud, clanking tanks. Annakin often places his camera on the front end of a tank, train or moving car to give the viewer a "you-are-there" perspective, a technique which is ruined with the pan-and-scan process.

The dramatic effect of the serious scenes is severely hampered by preposterous Hollywood heroics and some incredibly poor special effects. Quite often, the combat and destruction look incredibly real, but there are some truly laughable shots of exploding model tanks and roaring model trains, too. The battle scenes, notably a huge tank vs. tank battle and a conclusion involving an attempted German capture of an Allied fuel dump are incredibly corny and false-looking - first for their false-looking special effects, which looked bad even in 1965, and secondly for their placement in a desert rather than a snowy forest - which really destroyed the credibility Annakin had been working up to. A strong subplot involving an American tanker, Guffy (Telly Savalas, "The Dirty Dozen") and another, centering on the Malmedy Massacre, help to offset this cheesiness.

"Battle of the Bulge" is a true Hollywood epic in every sense of the word. It may not be historically accurate, but it's probably the most entertaining and engaging war film I've had the pleasure to watch. The characters are main fleshed out enough to keep the viewers interested, the scope is amazing and the direction often borders on brilliance as often as it fails miserably.